905:
31:
249:
163:
726:
112:
333:
843:, which could be reliably printed in larger numbers, but also very useful for the traditional monochrome techniques, once steel-faced plates were in use. This art trade fed both the traditional collectors market of the well-off, who kept most of their prints in portfolios, but also a larger and rapidly expanding middle-class market, who mainly wanted a certain number of images to frame and display in their homes, and now wanted original works rather than, or as well as, reproductive ones (the reproductive print meanwhile enjoying a huge boom by expanding its market to lower middle-class and working-class groups).
85:
803:, in general a supporter of both Haden and etching in general, nonetheless criticized his views on the primacy of quickly executing works, pointing to the number of states in Haden's own prints as showing that Haden did not entirely follow his own precepts. In the mid-1860s Haden argued against Ruskin's sometimes violently expressed objections to etching; what Haden saw as etching's strength, the ease of transmitting the thought of the artist, was exactly what Ruskin deplored: "in the etching needle you have an almost irresistible temptation to a wanton speed".
355:. This linking of the art of the two countries, though short-lived, did much to validate etching as an art form. Very soon, French etching would show the same modernist signs that French art showed generally, while English and American etching remained true to the kind of technical proficiency and subject matter artists revered in Rembrandt. One distinct aspect of the revival, in contrast with the Old Master period, was an interest in giving unique qualities to each impression of a print.
486:
379:
817:(1868) was more an art history than a technical text but it did much to popularize the art and some of its modern practitioners. His ideas had much in common with those of Haden, favouring a spare style where what was omitted was as important as what was included, an important theme of Haden. The book went through many editions till the 20th century. By the 1870s Hamerton was also publishing an influential periodical, titled
882:, collected contemporary prints which he later gave to the museum. He began collecting and writing about Muirhead Bone's prints when Bone first exhibited in London in 1902, paying one or two guineas at Bone's dealer. By 1918 he was paying far higher prices, up to ÂŁ51 and ÂŁ63. He continued to buy Bones up to the 1940s, by which time the prices were back to 1902 levels. However a record price of ÂŁ250 was paid for
937:
dexterity without much hope ... Of patient labour and skill there is in this book a plenty and more. Of technical experiment or strongly personal vision and contact with modern life, there is little or none". Etching, of urban subjects similar to his later paintings, had been important in establishing Hopper's early reputation, but around 1924 he decided to concentrate on painting instead.
769:
962:, was part of these efforts, also providing a new set of exhibitions. Although several artists such as Frank Short and William Strang (both elected full RA in 1906) were better known for their prints than their paintings, and helped to agitate for change from within the Academy, the distinction between "Academician Engravers" and full "Academicians" was not abolished until 1928.
847:
good impressions of prints by
Rembrandt and DĂŒrer, let alone other Old Masters. The boom was somewhat cynically exploited by many artists, who produced prints in a rather excessive number of states, often described as "proof states", so encouraging collectors to buy multiple copies. Muirhead Bone is believed to hold the record, with 28 states for one print.
787:) to overcome these limitations, but Haden's rhetoric was effective and influential. He advocated a style of "learned omission", according to which the fewer lines there were on a plate, "the greater would be the thought and creativity residing in each line". In accordance with this, Haden (like Meryon) disliked the addition of
744:(despite having practised it to illustrate some of his books) described etching in 1872 as "an indolent and blundering art", objecting to both the reliance on chemical processes and mostly skilled printers to achieve the final image, and the perceived ease of the artist's role in creating it. In France the poet
418:, and in the long run this emerged as the dominant artistic printmaking technique, especially in the next century after the possibilities for using colour became greatly improved. The same artists of the Barbizon school who etched were the main users of the semiphotographic etching-like technique of the
761:(1866) was an important early work, promoting a particular view of etching, especially applicable to landscapes, as effectively an extension of drawing, with its possibilities for spontaneity and revealing the creative processes of the artist in a way that became lost in a highly finished and reworked
748:
was very supportive of Meryon and other specific French professionals, and admired Haden and
Whistler. But writing in 1862 he was hostile, for similar reasons to Ruskin, to what he saw as the English phenomenon of an etching craze among amateurs (like Haden) and even ladies, hoping it would never in
358:
Artists who only or mainly made prints, and usually drawings, were few. Meryon, who was colourblind and so effectively prevented from painting, is probably the most significant. Haden, who was strictly speaking an amateur, is another. Most artists continued to work in paint, but while some are now
950:
in London and the reproductive printmakers, who in 1853 finally won the ability to be elected to the inferior membership status of "Academician
Engraver", and some space in the Academy's important exhibitions. At the start of the revival the majority of artists concerned were also painters, and not
791:
during printing, and fell out with
Whistler over this and similar issues. Haden wrote: "I insist on a rapid execution, which pays little attention to detail", and thought that ideally the plate should be drawn in a single day's work, and bitten in front of the subject, or at least soon enough after
316:
For
Hamerton and others, the father of the British Etching Revival was Francis Seymour Haden, the surgeon etcher, who, with his brother-in-law, the American, James McNeill Whistler, produced a body of work starting around 1860 that still stands as one of the highpoints of etching history. Haden was
846:
By the early 20th century, and especially in the decade after the end of the First World War, a very strong body of well-off collectors led to a huge boom in prices for contemporary prints by the most highly regarded artists, sometimes called the "super-etchers", which very often exceeded those for
413:
Although the theorists of the movement tended to concentrate on monochrome prints in the traditional techniques of etching, drypoint, and some mezzotint, and the term "etching revival" (and so this article) is mainly concerned with works in these, many artists also used other techniques, especially
936:
expressed this with some brutality: "We have had a long and weary familiarity with these 'true etchers' who spend their industrious lives weaving pleasing lines around old doorways, Venetian palaces, Gothic cathedrals, and
English bridges on the copper ... One wanders through this desert of manual
61:
during the period approximately from 1850 to 1930. The main centres were France, Britain and the United States, but other countries, such as the
Netherlands, also participated. A strong collector's market developed, with the most sought-after artists achieving very high prices. This came to an
839:, with galleries, dealers, clubs, and at the top end auction houses. This was in place by 1850 in London, Paris and other major centres, and continued to expand greatly in Europe and America. Prints had the additional and unique option of the magazine "album"; this was even more useful for
792:
seeing it to retain a good visual memory. Haden had devised his own novel technique where the etching was drawn on the plate while it was immersed in a weak acid bath, so that the earliest lines were bitten the deepest; normally the drawing and biting were performed as different stages.
516:) produced nine issues quarterly between 1893 and 1895, containing a total of 95 original prints by a very distinguished group of 74 artists. Of these prints, 60 were lithographs, 26 in the various intaglio techniques (with a third of these using colour), 7 woodcuts, a
756:
To counter such criticisms, members of the movement wrote not only to explain the refinements of the technical processes, but to exalt original (rather than merely reproductive) etchings as creative works, with their own disciplines and artistic requirements. Haden's
277:. This made the lines on the plates much more durable, and in particular the fragile "burr" thrown up by the drypoint process lasted much better than with copper alone, and so a greater (if still small) number of rich, burred, impressions could be produced.
285:
were among the first to exploit this, and drypoint became a more popular technique than it had been since the 15th century, still often combined with conventional etching. However, steel-facing could lead to a loss of quality. It is not to be confused with
317:
a collector and authority on the etchings of
Rembrandt and it comes as no surprise that as Whistler, the younger man, began to show signs of veering far from the 17th-century model, Haden and he parted company. Figures from other countries included
858:
began at this period. This does certify authenticity and reflect the limited number of top quality impressions that can be taken from an intaglio plate before it begins to show wear. Today it is used for marketing reasons even for prints such as
927:
As well as the Great
Depression, the monochrome tradition of Haden and Whistler had reached something of a dead end, "largely resistant" to "the need to find recognisably modern subject-matter and forms of expression". A review in 1926 by
901:, put some money into printmaking. Etchings fell hugely in value until the 1980s when a new market (albeit a small one) began to develop for what is now seen as a small but important tributary of the stream of 19th- and 20th-century art.
458:
Though the styles and techniques typical of the revival fell out of fashion after about 1930, the interest in artistic printmaking has endured, and significant artists still very often produce prints, generally using the signed
945:
Printmaking had traditionally had a much lower status in the art world, especially the notoriously conservative academies, than the "major" media of painting and sculpture. This had long been a bone of contention between the
99:
Although some artists owned their own printing presses, the movement created the new figure of the star printer, who worked closely with artists to exploit all the possibilities of the etching technique, with variable inking,
77:", created by deliberately not wiping all the ink off the surface of the printing plate, so that parts of the image have a light tone from the film of ink left. This and other characteristics reflected the influence of
154:, all of which used more specialized actions on the plate. Artists then had to learn the mysteries of "biting" the plate with acid; this was not needed with pure drypoint, which was one of its attractions.
181:
During the century after
Rembrandt's death the techniques of etching and drypoint brought to their highest point by him gradually declined. By the late eighteenth century, with brilliant exceptions like
753:, when even fair "ladies" prided themselves on their ability to run an inexperienced needle over the varnish plate. A typically British craze, a passing mania which would bode ill for us".
245:, also mostly from the 1850s, provided models for a very different type of subject and style which was to remain in use until the end of the revival, though more in Britain than France.
437:
woodblock prints began to be seen and admired in Europe. The situation was reversed in Japan compared to Europe, with multi-coloured prints but a still strong tradition of monochrome
309:
was an early inspiration, and close collaborator with DelĂątre, laying out the various possible techniques of modern etching and producing works that would be ranked with Rembrandt and
273:
of plates was a technical development patented in 1857 which "immediately revolutionized the print business". It allowed a very thin coating of iron to be added to a copper plate by
66:
wrecked what had become a very strong market among collectors, at a time when the typical style of the movement, still based on 19th-century developments, was becoming outdated.
863:, where such a limit barely applies. Whistler began charging twice as much for signed impressions as for unsigned ones; this was for a series in 1887, in fact of lithographs.
958:, and continuing over the following years with a flow of letters, articles and lectures. His role as co-founder and first President of the Society of Painter-Etchers, now the
951:
especially concerned by this disparity, but over the last decades of the 19th century this changed, as artists whose main efforts went into printmaking became more common.
666:
might be considered the important figures at the turn of the century, though they were mostly less exclusively dedicated to printmaking than the English artists. The
108:, and the use of different papers. Societies and magazines were also important, publishing albums of varied original prints by different artists in fixed editions.
241:
produced etchings that were different from those heavily worked reproductive plates of the previous century. The dark, grand and often vertical format townscapes of
1005:
622:
In Britain a later generation included three artists working very largely in etching who were knighted. These were the "high priests" of the English movement:
363:, Bone and Cameron for example), others achieved fame in the more prestigious medium of paint, and it tends to be forgotten that they were printmakers at all.
1580:
Salsbury, Britany. âThe Etching Revival in Nineteenth-Century France.â In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2014,
717:
only began etching in the last years before the collapse of the price bubble, and persisted in etching "Romantic pastoral landscapes" into the late 1940s.
500:
In France the 1890s saw another wave of productivity in printmaking, with a great diversity of techniques, subjects, and styles. The album-periodical
827:
by Lalanne was translated by S.R. Koehler and published in the United States in 1880. It played a significant role in the Etching Revival in America.
795:
In France Haden's ideas reflected a debate that had been underway for some decades over the comparative merits of quickly executed works such as the
451:
inking, among the most effective. The Japanese printmakers used multiple woodblocks, one for each colour, and there was something of a revival in
126:
The most common subjects were landscapes and townscapes, portraits, and genre scenes of ordinary people. The mythological and historical subjects
225:
in the 1840s and 50s. A number of artists, mainly painters, produced some landscape etchings which seemed to recapture some of the spirit of the
463:
presentation that the revival pioneered. Though lithographs are generally more common, an outstanding set using traditional etching is the
521:
221:, further depressed the use of etching. The style typical of the Etching Revival really begins in France with the prints of the
1195:
301:, an etcher who wrote a popular textbook of etching in 1866, established the broad contours of the movement. Cadart founded the
904:
1258:
30:
1616:
1302:
959:
874:, which after a period of "wild financial speculation" in prices, "made everything unsaleable". The prints curator at the
1655:
1558:
1095:
206:
and others producing fine original etchings, mostly of landscape subjects, in the early decades of the 19th century.
1203:
527:
The subjects have a notably large number of figures compared to earlier decades, and the artists include Whistler,
248:
954:
In England Haden was the main activist on this front, beginning in 1879 in a series of lectures on etching at the
809:
had become an enthusiastic promoter of etching in Britain. He had trained as a painter, but become a professional
441:, few of which were seen in Europe. Many printmakers tried their own methods of achieving similar effects, with
17:
1631:
1575:
1544:
1527:
1509:
1491:
1477:
650:
were other leading figures. Many artists turned to illustrating books, usually with lithographs. In America,
290:
on wholly iron plates, popular in the same period but almost always for mezzotints and commercial printing.
282:
134:
in particular; the basic action of creating the lines on the plate for these was essentially the same as in
1274:
725:
305:
in 1862, reviving the awareness of the beautiful, original etching in the minds of the collecting public.
230:
162:
88:
1651:
1645:
111:
1609:
Print Rebels: Haden - Palmer - Whistler and the origins of the RE (Royal Society of Painter-Printmakers)
673:
The final generation of the revival are too numerous to name here but they might include such names as
600:
351:, one of the members of the French Revival, to come to London in 1863; later he was a professor at the
183:
893:
Without a large group of collectors many artists returned to painting, though in the US from 1935 the
866:
After rising to its highest in the 1920s, the market for collecting recent etchings collapsed in the
194:
most etchings were reproductive or illustrative. In England the situation was slightly better, with
187:
1202:, Volume 6, pp.112â118, 1995, American Institute for Conservation of Historic & Artistic Works,
431:
from the 1870s gave a particular spur to the movement towards colour, as brightly coloured Japanese
352:
1520:
How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet
1017:
Griffiths, 65-68; Collins, 256; Chambers, Introduction, argues against this, the conventional view
806:
234:
1686:
1484:
An Indolent and Blundering Art?: The Etching Revival and the Redefinition of Etching in England
871:
776:
638:. Like others, they "treated a narrow range of subjects with a dour earnestness", according to
502:
63:
1085:
332:
84:
1602:
The âWritingâ of Modern Life: The Etching Revival in France, Britain, and the U.S., 1850-1940
729:
702:
667:
438:
278:
473:, "undoubtedly the greatest etcher of century", produced from 1930 to 1937 and named after
1676:
663:
643:
508:
139:
1331:
360:
8:
1681:
894:
627:
612:
556:
38:
34:
1470:
Landmarks in Print Collecting â Connoisseurs and Donors at the British Museum since 1753
584:
130:
rarely feature. Etching was the dominant technique, but many plates combined this with
745:
588:
564:
293:
Several people were of special importance to the French Etching Revival. The publisher
42:
592:
414:
outside Britain. The French, and later the Americans, were very interested in making
1652:
Documenting the Gilded Age: New York City Exhibitions at the turn of the 20th century
1627:
1612:
1581:
1571:
1554:
1540:
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1487:
1473:
1091:
955:
698:
326:
310:
1671:
1532:
1515:
1251:
1154:
Woodbury, Sara. "Giving a Good Impression: B.J.O. Nordfeldt's Inscribed Etchings,"
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867:
710:
678:
639:
604:
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474:
447:
399:
226:
207:
199:
127:
70:
1107:
Collins, 257 and throughout; van Breda, Jacobus. "Charles Meryon: Paper and Ink,"
596:
560:
1522:, 1986 (2nd Edition, 2004), Thames & Hudson, with sections not page-numbers
1495:
1280:
1262:
855:
694:
682:
651:
460:
348:
336:
287:
222:
218:
886:(1905) "Bone's masterpiece" (according to Dodgson) "as late as 1933", bought by
420:
1563:
887:
875:
800:
706:
674:
647:
616:
572:
517:
306:
298:
274:
252:
242:
238:
191:
115:
1665:
1330:, pp. 25-30, 2007, Aberystwyth University: School of Art Museum and Gallery,
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929:
819:
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623:
576:
470:
465:
294:
261:
195:
799:, and the much lengthier process of making a finished painting. The critic
1468:
Carey, Frances, "Campbell Dodgson (1867-1948)", in Antony Griffiths (ed),
908:
848:
788:
762:
750:
749:
France "win as great a popularity as it did in London in the heyday of the
659:
608:
548:
532:
489:
442:
382:
318:
174:
101:
74:
1198:; Schenck, Kimberly, "Cliché-verre: Drawing and Photography", 112-114, in
485:
1081:
741:
714:
686:
655:
635:
580:
544:
513:
455:, which hardly any serious artists had worked in since the 16th century.
322:
214:
58:
860:
840:
810:
796:
690:
415:
378:
203:
854:
More usefully, the enduring habit of numbering and signing prints as
836:
568:
428:
147:
143:
78:
138:, and fairly easy for a trained artist to pick up. Sometimes other
1551:
The Great Wave: The Influence of Japanese Woodcuts on French Prints
898:
540:
394:
390:
151:
131:
1624:
Etched in memory: the building and survival of artistic reputation
823:, that published etchings in editions of 1000 copies. The French
213:
As the century progressed, new technical developments, especially
1035:
Griffiths, 68; Salsbury; Chambers, Introduction; Collins, 256-257
920:
916:
631:
452:
433:
405:
375:
are examples of this; Whistler perhaps remains known for both.
372:
135:
54:
73:, the "most visible characteristic of ... was an obsession with
536:
81:, whose reputation had by this point reached its full height.
552:
368:
364:
783:
Oil painting was soon to come up with developments (notably
768:
779:, c.1889, exemplifying Haden's idea of "learned omission".
512:
of 1897â1899, which was all lithographs, leaning more to
1646:"L'Estampe Originale: A Rare Print Portfolio Now Online"
210:, founded in 1838, continued to maintain the medium.
1658:
project. Exhibition catalogs from the Etching Revival.
1196:"A Photographic imitation of etchingâ â ClichĂ©-verre"
477:(1866-1939), the art dealer who commissioned them.
1401:
Carey, 234, describing a Bone with a mere 19 states
1342:
Chambers, start of Introduction (quoted), Chapter 1
1008:, "Etching", technical explanation with video clips
1328:Joseph Webb: the lights that flit across my brain
45:, signed and inscribed "Trial Proof â unfinished"
1663:
1648:, Metropolitan Museum of Art blog, 6 March, 2015
1611:. London: Royal Society of Painter-Printmakers.
1365:
1363:
1361:
1359:
1357:
1292:Stein, 20-40 has a catalogue in alphabetic order
1283:, Amsterdam, web feature with full set of images
670:was the main professional etching organization.
835:The etching revival relied on a well-developed
740:The revival attracted some hostile criticism.
1570:, Metropolitan Museum of Art/Princeton, 1971,
1539:, British Museum Press (in UK), 2nd edn, 1996
1123:
1121:
1119:
1117:
915:("The Spirit of the Dead Watching"), 1894â95,
1354:
128:still very prominent in contemporary painting
1379:
1377:
1375:
720:
403:by the artist herself, inspired by Japanese
1590:, 1970, The Museum of Graphic Art, New York
1114:
1486:, 2018 (first published 1999), Routledge,
1351:Chambers, Introduction (quoted), Chapter 1
1090:, Oxford University Press (2000), p. 359,
1588:L'Estampe originale; A Catalogue Raisonné
1372:
347:It was Whistler who convinced the artist
53:was the re-emergence and invigoration of
1553:, 1974, The Metropolitan Museum of Art,
1136:Carey, 218, 248; Griffiths, 21, 106, 117
1111:, Vol. 3 No. 3 (September-October 2013).
1026:Griffiths, 66-69; Chambers, Introduction
903:
767:
724:
484:
377:
331:
247:
161:
110:
83:
29:
1622:Lang, Gladys Engel; Lang, Kurt (2001).
1044:Collins, 258, covered in detail 114-222
14:
1664:
1626:, 2001, University of Illinois Press,
1062:Mayor, 125; Griffiths, 71, 76, 154-155
445:'s very complicated prints, including
27:Art movement between 1850s and c. 1930
1586:Stein, Donna M., Karshan, Donald H.,
713:in the United States. Griggs' pupil
506:(not to be confused with the similar
281:and his brother-in-law, the American
157:
1644:Salsbury, Britany, and Conte, Lisa,
1256:at the National Gallery of Australia
960:Royal Society of Painter-Printmakers
940:
851:also individualized impressions.
630:(these two both born and trained in
359:mainly remembered for their prints (
1295:
1200:Topics in Photographic Preservation
297:, the printer Auguste DelĂątre, and
24:
1594:
1419:Griffiths, 69 (quoted); Mayor, 747
1214:Ives, throughout, 11-17 especially
1158:, Vol. 7 No. 2 (July-August 2017).
996:Chambers, "Introduction"; Salsbury
25:
1698:
1656:New York Art Resources Consortium
1638:
1087:The Oxford History of Western Art
1303:"Objects â Myra Kathleen Hughes"
830:
480:
1449:
1440:
1431:
1422:
1413:
1404:
1395:
1386:
1345:
1336:
1320:
1286:
1267:
1244:
1235:
1226:
1217:
1208:
1188:
1179:
1170:
1161:
1148:
1139:
1130:
1101:
1080:Chambers, Chapter 1; Salsbury;
1074:
1065:
1056:
424:, between the 1850s and 1870s.
1504:, 1999, Garton & Company,
1472:, 1996, British Museum Press,
1250:Griffiths, 70-71 (70 quoted);
1047:
1038:
1029:
1020:
1011:
999:
990:
981:
972:
217:, which was gradually able to
13:
1:
1462:
987:Griffiths, 35; Gascoigne, 10d
934:Fine Prints of the Year, 1925
736:, drypoint with etching, 1859
122:, 1854, fourth state of nine.
1600:Elizabeth Helsinger et al.,
599:. British artists included
219:print successfully in colour
7:
1307:National Gallery of Ireland
1232:Ives, 17-18; Griffiths, 117
1223:Ives, 45-53; Griffiths, 119
177:, an early etching of 1866.
10:
1703:
1006:Metropolitan Museum of Art
813:and amateur etcher. His
721:Books, critics and theory
303:Société des Aquafortistes
231:Charles-François Daubigny
89:Charles-François Daubigny
965:
353:Slade School of Fine Art
1607:Twohig, Edward (2018).
1185:Griffiths, 106-107, 120
807:Philip Gilbert Hamerton
615:, and besides Whistler
57:as an original form of
1537:Prints and Printmaking
1502:Charles Meryon: A Life
1446:Quoted, Carey, 222-223
1369:Chambers, Introduction
924:
872:1929 Wall Street crash
780:
777:James McNeill Whistler
737:
693:(son of William), and
497:
439:ink and wash paintings
410:
344:
283:James McNeill Whistler
266:
178:
142:techniques were used:
123:
96:
64:1929 Wall Street crash
46:
907:
825:A Treatise on Etching
771:
730:Francis Seymour Haden
728:
668:New York Etching Club
488:
381:
335:
279:Francis Seymour Haden
251:
165:
114:
87:
62:abrupt end after the
33:
1549:Ives, Colta Feller,
664:Robert Swain Gifford
644:Myra Kathleen Hughes
140:intaglio printmaking
120:Abside de Notre Dame
93:Moving into the Boat
1383:Chambers, Chapter 1
1276:LâEstampe originale
895:Federal Art Project
815:Etching and Etchers
628:David Young Cameron
613:William Rothenstein
557:Henri Fantin-Latour
503:L'Estampe originale
469:of 100 etchings by
35:David Young Cameron
1533:Griffiths, Anthony
1261:2012-05-14 at the
1194:Schaaf, Larry J.,
1053:Griffiths, 154-155
925:
890:in Switzerland.
781:
746:Charles Baudelaire
738:
589:Ker-Xavier Roussel
567:. Almost all of
565:Puvis de Chavannes
498:
411:
345:
267:
179:
158:Historical outline
124:
97:
47:
1617:978-1-5272-1775-1
1568:Prints and People
1516:Gascoigne, Bamber
1494:, 9780429852824,
1326:Meyrick, Robert,
956:Royal Institution
941:Status of artists
601:William Nicholson
509:L'Estampe Moderne
361:FĂ©lix Bracquemond
16:(Redirected from
1694:
1634:. OCLC 614940938
1604:, Chicago, 2008.
1500:Collins, Roger,
1482:Chambers, Emma,
1456:
1453:
1447:
1444:
1438:
1435:
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868:Great Depression
856:limited editions
734:Thames Fishermen
711:John Taylor Arms
679:Frederick Griggs
640:Antony Griffiths
605:Charles Ricketts
585:Ădouard Vuillard
529:Toulouse-Lautrec
475:Ambroise Vollard
427:The fashion for
227:Old Master print
208:The Etching Club
200:John Sell Cotman
71:Bamber Gascoigne
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1595:Further reading
1564:Mayor, Hyatt A.
1512:, 9780906030356
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683:Malcolm Osborne
652:Stephen Parrish
593:FĂ©lix Vallotton
483:
461:limited edition
349:Alphonse Legros
343:, etching, 1880
337:Stephen Parrish
325:in Sweden, and
288:steel engraving
259:, published in
237:and especially
223:Barbizon School
160:
51:etching revival
43:St James's Park
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18:Etching Revival
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888:Oskar Reinhart
876:British Museum
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707:Joseph Pennell
675:William Walcot
648:William Strang
619:was American.
617:Joseph Pennell
573:Pierre Bonnard
518:wood engraving
482:
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327:KĂ€the Kollwitz
307:Charles Meryon
299:Maxime Lalanne
275:electroplating
257:Potato Lifting
253:William Strang
243:Charles Meryon
239:Charles Jacque
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1312:27 September
1310:. Retrieved
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1273:Stein, 6-9;
1269:
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849:Surface tone
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789:surface tone
782:
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763:oil painting
758:
755:
751:Etching Club
739:
733:
703:Martin Lewis
697:in Britain,
672:
660:Henry Farrer
621:
609:Walter Crane
549:Odilon Redon
526:
507:
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490:Henry Farrer
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443:Mary Cassatt
432:
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421:cliché verre
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39:Horse Guards
1677:Printmaking
1082:Martin Kemp
861:lithographs
841:lithographs
742:John Ruskin
715:Joseph Webb
687:James McBey
656:Otto Bacher
636:Frank Short
581:Paul Ranson
545:Paul Signac
514:Art Nouveau
448:à la poupée
416:lithographs
400:à la poupée
387:The Fitting
323:Anders Zorn
321:in Norway,
215:lithography
106:retroussage
59:printmaking
1682:Modern art
1666:Categories
1632:0252070283
1576:0691003262
1545:071412608X
1528:050023454X
1510:0906030358
1492:0429852827
1478:0714126098
1463:References
1455:Carey, 234
1437:Carey, 222
1410:Mayor, 703
1392:Carey, 216
921:stencilled
884:Ayr Prison
870:after the
811:art critic
797:oil sketch
699:John Sloan
691:Ian Strang
522:gypsograph
494:Pelham Bay
204:John Crome
1084:, (ed.),
837:art trade
569:Les Nabis
496:, c. 1875
429:Japonisme
148:mezzotint
144:engraving
79:Rembrandt
1259:Archived
1176:Salsbury
899:New Deal
541:Pissarro
397:, inked
395:aquatint
391:drypoint
389:, 1890,
341:November
255:, 1882,
184:Piranesi
152:aquatint
132:drypoint
1672:Etching
917:woodcut
773:Zaandam
634:), and
632:Glasgow
533:Gauguin
453:woodcut
434:ukiyo-e
406:ukiyo-e
373:Picasso
188:Tiepolo
171:La peur
136:drawing
55:etching
1630:
1615:
1582:online
1574:
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1204:online
1094:
923:colour
662:, and
595:, and
537:Renoir
520:and a
235:Millet
95:, 1861
966:Notes
553:Rodin
369:Manet
365:Degas
311:DĂŒrer
173:) by
1628:ISBN
1613:ISBN
1572:ISBN
1555:ISBN
1541:ISBN
1524:ISBN
1506:ISBN
1488:ISBN
1474:ISBN
1314:2020
1252:The
1092:ISBN
765:.
709:and
646:and
611:and
563:and
524:.
393:and
371:and
269:The
192:Goya
190:and
167:Fear
150:and
104:and
49:The
1332:PDF
932:of
775:by
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1654:A
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